_at_ Richie: In the video I was using mostly one of our API functions, makebeat(), that uses a string to schedule playback of a sound file. Each character represents a sixteenth note, with “-“ being a rest, “+” being a tie, and “0” being a trigger to play the sound file from the beginning. (There are alternate formulations of this function where you can use the digits 0 through 9 to trigger either different sound files or different locations within a single sound file, but I didn’t use those in this video.) Combined with the * operator in Python to concatenate strings multiple times, I was creating strings that combined the triggers, ties, and rests in varying amounts by track to make the polyrhythmic structures.
_at_ Alex: the transition ideas you have in Tidal are wonderful, and really gets me thinking about possibilities for EarSketch. We might also consider, for example, a transition track by track, where track 1 switches, then track 2 a measure later, then track 3, etc. I’ve done transitions like that by hand-coding each step (i.e. with an if statement based on track number where I change the condition and re-execute for each step of the transition), but an automated process would be much more compelling. We could visualize it too, perhaps. As for the infinite timeline, it would definitely work, but I’m not sure I’m brave enough to do that in a solo performance setting — I’d be afraid that I couldn’t “keep up” with the passage of time. We did do an infinite timeline in LOLC, but that was with ensemble-based live coding, so there was not so much pressure on any individual person in the group to keep up with the passage of time. With EarSketch, I feel a lot safer knowi
ng that
I can let it loop back to the beginning and code at my own pace. Maybe as I practice more and gain more confidence I’ll be able to turn off looping and try it the other way…
—Jason
> On Oct 6, 2015, at 6:18 AM, alex <alex_at_slab.org> wrote:
>
> Yes this is a really interesting issue that comes up from time to
> time, how to transition from the old to the new. Julian has some
> concerning thoughts about this, and I find the crossfades in jitlib
> very interesting.
>
> I think I already mentioned recently that in Tidal I've been working
> on a library of transitions. Generally I make changes at the start/end
> of rhythmic cycles (the sam), evaluations are quantised to I think an
> eighth of a cycle.
>
> Example transitions:
> histpan - each new pattern comes in on the left channel, and through
> successive evaluations get pushed towards the right channel until they
> disappear.
> anticipate - the previous pattern becomes increasingly intense
> (through the use of comb filter) until it drops out to the new pattern
> clutch - events in the previous pattern are gradually dropped out as
> events in the new one are brought in, at random
> mortal - the new pattern comes in immediately, but gradually dies
> wait - the old pattern stops immediately, leaving silence for a bit
> before the new pattern comes in
>
> It's pretty strange to live code how to transition between live code edits.
>
> I guess you have an extra challenge here Jason because you are
> generating finite sequences which end, and your lovely polyrhythms are
> creating discontinuities at the loop point. It would be nice to code
> an infinite timeline and visualise a 'window' of that, but I think
> would not work for you? Treating conventional imperative control flow
> as musical time seems to put certain limits on the notion of musical
> time. It'd be interesting to hear your thoughts on this!
>
> alex
>
> On 5 October 2015 at 01:38, Jason Freeman <mail_at_jasonfreeman.net> wrote:
>> thanks all for the comments.
>>
>> _at_Patrick: we’ve talked internally about swapping in the new code at a key timeline point, yes. I did something like this in an old environment of mine (LOLC) where you could schedule things to start at the next beat, measure, or hypermeasure (in that case, every 4 measures), or to start after the end of the last scheduled item. With EarSketch, we’re still not sure whether something like this would be the best approach or whether a quick crossfade between old and new would work better (or perhaps some combination of the two). Even if we wait until significant timeline points, a sudden change is still going to sound discontinuous sometimes.
>>
>> —Jason
>>
>>> On Oct 4, 2015, at 3:18 PM, Amy Alexander <amy_at_plagiarist.org> wrote:
>>>
>>> Muy cool! And another thumbs-up for the DAW-style visualization. I think
>>> this will be hugely useful for the uninitiated and intimidated, as it's a
>>> big help in getting past the livecoding "WTF factor" as well as the "I get
>>> the idea in abstract but I don't really relate to it or picture myself
>>> doing it" factor. I want to learn EarSketch! :-) (I'm checking out the
>>> tutorials now...)
>>>
>>> -Amy
>>>
>>>
>>>
>>>
>>>
>>>
>>> On Fri, Oct 2, 2015 at 2:24 PM, alex <alex_at_slab.org> wrote:
>>>
>>>> I really enjoyed the piece, and the analysis driven effect was a nice
>>>> surprise at the end. Thanks for sharing, Jason! It's interesting that
>>>> the visualisation helps you keep aware of the pace of change, I think
>>>> this is one of the key skills of live coding performance and
>>>> improvisation.. Counting while coding.
>>>>
>>>> Patrick, Julian made something in SuperCollider that let you schedule
>>>> code changes ahead of time, although I don't think events were
>>>> visualised in this way.
>>>>
>>>> Here's another python live coding environment by Ryan Kirkbride, fresh
>>>> from Yorkshire:
>>>> https://www.youtube.com/watch?v=mNTp_ECpxBY
>>>>
>>>> I've always felt it strange that there weren't more Python live coding
>>>> environments, it seems like it should be well suited to it. Has anyone
>>>> done live coding with ipython notebook?
>>>>
>>>> cheers
>>>>
>>>> alex
>>>>
>>>> On 2 October 2015 at 22:14, Patrick Borgeat <patrick.borgeat_at_gmail.com>
>>>> wrote:
>>>>> Hi Jason,
>>>>>
>>>>> looks great! From my perspective as a SuperCollider live coder I really
>>>>> like that you are able to *see* ahead of time instead of just listening
>>>> *in
>>>>> time*. From my performer perspective, this might be something I would
>>>> like
>>>>> to have too, especially as I can sill reshape the future time I was able
>>>> to
>>>>> see.
>>>>>
>>>>> I think a cool feature could be to quantize changes to the timeline, e.g.
>>>>> run the code and compute a future timeline but the new timeline will just
>>>>> be swapped in at the next bar (or each 4 bars). It could also be
>>>>> interesting to be able to preview the results of code, so it would be
>>>>> displayed as an overlay to the actual sounding timeline, so that I can
>>>>> inspect it visually but the old audio timeline is still playing (until I
>>>>> decide that I want to hear the new timeline).
>>>>>
>>>>> Cool stuff! Cheers,
>>>>> Patrick
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>> 2015-10-02 22:17 GMT+02:00 Jason Freeman <mail_at_jasonfreeman.net>:
>>>>>
>>>>>> Hi all,
>>>>>>
>>>>>> Some of you know about EarSketch (http://earsketch.gatech.edu), the
>>>>>> browser-based coding environment that includes a Python / JavaScript
>>>> API,
>>>>>> sound library, and DAW-style view for algorithmic composition. We’ve
>>>> been
>>>>>> developing it for the last few years at Georgia Tech, and it’s primarily
>>>>>> targeted towards students in intro computer science courses, with an eye
>>>>>> towards increasing engagement and participation in computing by
>>>> populations
>>>>>> traditionally underrepresented in computer science.
>>>>>>
>>>>>> We’ve recently begun exploring the potential of EarSketch as a live
>>>> coding
>>>>>> environment too. Last week, I performed a live coding set in concert
>>>> with
>>>>>> EarSketch for the first time and wanted to share a screencast with you:
>>>>>>
>>>>>> https://www.youtube.com/watch?v=5ThWr3stq9M
>>>>>>
>>>>>> We still have some work to do in making live coding smoother in
>>>> EarSketch,
>>>>>> and I still have some practice to do as a performer, but…I wanted to
>>>> share
>>>>>> because I think the unusual structure of the environment has interesting
>>>>>> implications for live coding, i.e.
>>>>>>
>>>>>> * all the music is based on DAW-like operations: placing audio files on
>>>> a
>>>>>> multi-track timeline, splicing them, adding effects, etc.
>>>>>> * time is organized as a DAW timeline that loops
>>>>>> * the results of code execution are visualized (for both the live coder
>>>>>> and the audience) in a DAW-style display
>>>>>>
>>>>>> Hope you find these ideas interesting!
>>>>>>
>>>>>> Best,
>>>>>> —Jason
>>>>>> --
>>>>>>
>>>>>> Read the whole topic here: livecode:
>>>>>> http://lurk.org/r/topic/5kYLYw3lYMBKIOfyIrgzg4
>>>>>>
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>>>>>> subject: unsubscribe
>>>>>>
>>>>>
>>>>> --
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>>>>>
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>>>>
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>
>
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Received on Tue Oct 06 2015 - 12:29:26 BST